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In 1789 Wolfgang Amadeus Mozart visits the grave of Johann Sebastian Bach in Leipzig, looking for a sign, a signal, an answer to an enigma that has haunted him since childhood: Was Bach murdered by a famous oculist? And years later, was Handel a victim of the same doctor? Allegro follows his investigation, from the salons of London to the streets of Paris, recreating an enthralling and turbulent time, full of rogues and brilliant composers, charlatans and presumptuous nobles. Running parallel to this search is the rise of Mozart, his knowledge and fame, his trials and losses.

What is our relationship with the dead? How do we remember them? What dark secrets do our images of them hold? How do we emerge from grief to face the time we have left? Ten years after the tragic death of her husband, Dolores Ayala, owner of an old photography studio that has run out of clients, receives the most unusual assignment of her career: to take a portrait of a deceased person on the day of his funeral. Accepting it leads her to meet Clemente Artes, an eccentric old man obsessed with recovering the ancient tradition of photographing the dead. Under his guidance, Dolores will explore this forgotten practice, experience the slow time of the daguerreotype, and our need for images to remember those who are no longer there. She will also discover that some of them hold dark secrets that should never be revealed and, above all, that the dead never cease to move and sometimes pounce on the memory of the living. Miguel Angel Hernandez has written a subtle, dazzling novel about the borders between life and death, about memory and guilt, about the past that stays with us and our constant search for air to breathe.

Born in what is now Lviv, Ukraine, in 1869, Marcus Ehrenpreis was the secretary of Theodor Herzl at the First Zionist Congress in Basel in 1897, a grand rabbi of Bulgaria during two Balkan wars, a diplomat in defense of Europe''s minorities, a Swedish author compared to Joseph Conrad, the chief rabbi of one of Europe''s few unscathed Jewish communities through the Nazi era. More than a biography of a man''s life and work, this book is a literary journey by award-winning Swedish Jewish writer and public intellectual Goran Rosenberg (A Brief Stop on the Road from Auschwitz), in search of that European Jewish world of meaning and hope that Ehrenpreis so clearly embodied, so vividly articulated, and so relentlessly worked to explain, defend, and salvage from his pulpit in Stockholm. His lifelong dream was to build a bridge between ''Israel'' and ''the peoples,'' and he believed that he could do so by bringing a spiritually and culturally revitalized Judaism into a new and self-asserted contact with the non-Jewish world. His Zionism was not about making Jews a nation like all others, in a nation-state like all others, but creating a spiritual and cultural center for the renaissance of Jewish life ''amidst the nations.'' Even as Jewish life in Europe was all but annihilated, he feared what Jewish nationalism might do to the spiritual heritage of Judaism. A meticulously researched and beautifully written story of boundless hope, unrequited love, and annihilated possibilities, Another Zionism, Another Judaism evokes a diasporic Jewish existence that would be harshly judged in the aftermath of the Holocaust and the creation of the State of Israel. It also reminds us of a Zionism that strived for something other than an ethnic-national fortress on a narrow strip of land in the Middle East.

The publishing house is anchored like a ship along Stockholm''s main street, a large, bright building with an impressive rooftop terrace. The facade is a grid of wood and granite; flags with a cursive R sway in the wind. R as in Rydens. A young woman starts as an intern at this venerated institution, and over many years gains more and more responsibility for its authors and books. All under the supervision of Gunnar, publishing director of the most prestigious imprint behind the finest literature, Andromeda. Over time their work relationship transforms into something neither of them can truly define. Perhaps built on mutual trust? Or is it something else?

A poignant and unexpectedly inspirational account of women's suffering and resilience in Stalin's forced labor camps, diligently transcribed in the kitchens and living rooms of nine survivors. The pain inflicted by the gulags has cast a long and dark shadow over Soviet-era history. Zgustová's collection of interviews with former female prisoners not only chronicles the hardships of the camps, but also serves as testament to the power of beauty in face of adversity. Where one would expect to find stories of hopelessness and despair, Zgustová has unearthed tales of the love, art, and friendship that persisted in times of tragedy. Across the Soviet Union, prisoners are said to have composed and memorized thousands of verses. Galya Sanova, born in a Siberian gulag, remembers reading from a hand-stitched copy of Little Red Riding Hood. Irina Emelyanova passed poems to the male prisoner she had grown to love. In this way, the arts lent an air of humanity to the women's brutal realities. These stories, collected in the vein of Svetlana Alexievich's Nobel Prize-winning oral histories, turn one of the darkest periods of the Soviet era into a song of human perseverance, in a way that reads as an intimate family history.